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and life that was so pivotal to both artistic and moral discourses of the time, but also, as Anesko further traces the influence of Oscar Wilde's decadent poem “The Sphinx” (1894) and Charles Ricketts's embossed illustrations for the binding of the

unable to control his desire. As the men pair off with the women they have chosen, Ahmad takes Soukaina to his bedroom, where he recites a poem he has written. As the camera follows Soukaina's hand from Ahmad's crotch to his face as she kisses him, he

’s memorial service is in fact incorporated, reverberating deep within the film’s layered soundtrack (personal interview, August 2014). The film’s title derives from Wallace Stevens’s poem The Snow Man (1921). In the film, a child, about three years old, is

in other ways. In both the film scene and the literary excerpt, there were extra inserts, either diegetic (parallel events from the story itself) or non-diegetic (from an animated film and, for the literary version, from a poem). Unsurprisingly, the

-story was complemented with quotes and allusions from stories of Anton Chekhov and a poem by Mikhail Lermontov. See Andrew (2012) . References Andrew , Geoff . 2012 . “ Journey to the End of the Night .” Sight and Sound 22 ( 4 ): 28 – 32 . Arslan

Sitney with regard to the American experimental filmmaker Stan Brakhage, the lyrical film takes its name from the first-person expression of feeling in the lyrical poem. In the lyrical film, it is the filmmaker who serves as the film's first

, the inside and outside of buildings, and the ochre red of logs, as well as the snow, water, and marshlands, before dwelling for some time on Pedersen, who stands reading in the landscape. The poem being read in this non-naturalistic staging of human

surface. As the wearer turns her head, the jagged pencils scrape along the opposite wall, drawing clusters of lines on the wall's surface. Confined to her hospital bed, the artist had taken to writing poems to pass the time and escape her solitude. A work

this sense, these aspects serve as the environmental information that Gibson most closely associates with affordances. This is the text of the drama or poem, and perhaps the screenplay of a film. It is the fact that Cheol-ho rubs his aching jaw, not the

small girl’s voice singing a song about death, then cuts to a close-up of a clock radio reciting Rilke’s sad poem “Autumn Day.” The protagonist Caden Cotard (named after Cotard’s syndrome and played by Philip Seymour Hoffman) lies in bed and stares